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A group of entertainment industry workers launched a new coalition that aims to advocate for the rights of creators amid the growing AI industry.

The group, called Creators Coalition on AI, was founded by 18 people, including writer-director Daniel Kwan, actors Joseph Gordon-Levitt and Natasha Lyonne and producer Janet Yang, former president of the Academy of Motion Picture Arts and Sciences.

Gordon-Levitt said the group is not limited to Hollywood luminaries and is open to all creators and the skilled workers around them, including podcasters, digital content creators and newsletter writers.

“We’re all frankly facing the same threat, not from generative AI as a technology, but from the unethical business practices a lot of the big AI companies are guilty of,” he said in a video posted on X on Tuesday. “The idea is that through public pressure, through collective action, through potentially litigation and eventually legislation, creators actually have a lot of power if we come together.

The coalition’s formation comes at a time when Hollywood has been grappling with the fast growth of artificial intelligence tools. Many artists have raised concerns about tools that have used their likenesses or work without their permission or compensation.

The tech industry has said that it should be able to train its AI models with content available online under the “fair use” doctrine, which allows for the limited reproduction of material without permission from the copyright holder.

Some studios have partnered with AI companies to use the tools in areas including marketing and visual effects. Last week, Walt Disney Co. signed a licensing deal with San Francisco-based ChatGPT maker OpenAI for its popular Disney characters such as Mickey Mouse and Yoda to be used in the startup’s text to video tool Sora.

Kwan told The Hollywood Reporter that when Disney and OpenAI’s deal was announced many people felt “completely blindsided.”

“On one hand, you can say that this is just a licensing deal for the characters and that’s not a big deal, and it won’t completely change the way our industry works,” Kwan told THR. “But for a lot of people, it symbolically shows a willingness to work with companies that have not been able to resolve or reconcile the problems.”

There has also been lawsuits filed against some AI companies. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI business Midjourney accusing it of copyright infringement.

The Creators Coalition on AI said it plans to convene an AI advisory committee “to establish shared standards, definitions, and best practices as well as ethical and artistic protections for if and when AI is used.” Some of the principles the group lists on its website include the importance of transparency, consent, control and compensation in the use of AI tools, sensitivity to potential job losses, guardrails against misuse and deepfakes and safeguarding humanity in the creative process.

“This is not a full rejection of AI,” the group said on its website. “The technology is here. This is a commitment to responsible, human-centered innovation.”

“This is not a dividing line between the tech industry and the entertainment industry, nor a line between labor and corporations,” the group said . “Instead, we are drawing a line between those who want to do this fast, and those who want to do this right.”

The idea for the coalition was sparked by Kwan, who produced a documentary about AI, which comes out next year, Gordon-Levitt said in his video. He said work on the group began in the middle of this year. Already the collective has many signatories, including actors Natalie Portman, Greta Lee, Kirsten Dunst and Orlando Bloom.

Exiled punk band says its members are proud to be branded ‘extremists’ and hits back at Putin as an ‘aging sociopath’.

A Moscow district court has designated Russian punk protest band Pussy Riot as an extremist organisation, according to the state TASS news agency.

The exiled group’s lawyer, Leonid Solovyov, told TASS that Monday’s court ruling was made in response to claims brought by the Russian Prosecutor General’s Office and that the band plans to appeal. According to TASS, the case was heard in a closed session at the request of the Prosecutor General’s Office.

The court said that it had upheld prosecution submissions “to recognise the punk band Pussy Riot as an extremist organisation and ban its activities on the territory of the Russian Federation”, the AFP news agency reports.

An official Pussy Riot social media account shared a statement, responding defiantly to the ruling, saying the band’s members, who have lived in exile for years, were “freer than those who try to silence us”.

“We can say what I think about putin — that he is an aging sociopath spreading his venom around the world like cancer,” the statement said.

“In today’s Russia, telling the truth is extremism. So be it – we’re proud extremists, then.”

The group’s designation will make it easier for the authorities to go after the band’s supporters in Russia or people who have worked with them in the past.

“This court order is designed to erase the very existence of Pussy Riot from the minds of Russians,” the band said. “Owning a balaclava, having our song on your computer, or liking one of our posts could lead to prison time.”

According to TASS, earlier reports said that the Prosecutor General’s Office had brought the case over Pussy Riot’s previous actions, including at Christ the Saviour Cathedral in February 2012, and the World Cup Final in Moscow in 2018.

Today Russian court designated Pussy Riot as an extremist organization.

And yet, we’re freer than those who try to silence us. We can say what I think about putin — that he is an aging sociopath spreading his venom around the world like cancer. In today’s Russia, telling the… pic.twitter.com/ymz3BbApTo

— 𝖕𝖚𝖘𝖘𝖞 𝖗𝖎𝖔𝖙💦 (@pussyrrriot) December 15, 2025

The band’s members have already served sentences for the 2012 protest at the cathedral in Moscow, where they played what they called a punk prayer, “Mother of God, Cast Putin Out!”

Nadezhda Tolokonnikova and Maria Alyokhina, who were jailed for two years on hooliganism charges over the cathedral protest, were released as part of a 2013 amnesty, which extended to some 26,000 people facing prosecution from Russian authorities, including 30 Greenpeace crew members.

In September, a Russian court handed jail terms to five people linked with Pussy Riot – Maria Alyokhina, Taso Pletner, Olga Borisova, Diana Burkot and Alina Petrova – after finding them guilty of spreading “false information” about the Russian military, news outlet Mediazona reported. All have said the charges against them are politically motivated.

Mediazona was founded by Alyokhina alongside fellow band member Tolokonnikova.

The news outlet says that it is continuing to maintain a verified list of Russian military deaths in Moscow’s war on Ukraine.

“We have confirmed 153,000 names, each supported by evidence, context, and documentation,” Mediazona said on Monday.

“Stereophonic,” David Adjmi’s heralded drama that won five Tony Awards including best play, is ready for its Los Angeles close-up.

The first national tour production, which opened Wednesday at the Hollywood Pantages Theatre, seems right at home in the music capital of the world. The play about a 1970s rock band on the brink of superstardom takes place in recording studios in Sausalito and L.A., where the Laurel Canyon vibe is never out of sight.

The visual crispness of this L.A. premiere goes a long way toward dispelling doubts that the Pantages is the wrong venue for this ensemble drama. If there’s a problem, it isn’t the cavernousness of the theater. The production, gleaming with period details on a set by David Zinn that gives us clear views into both the sound and control rooms, comfortably inhabits the performance space, at least from the perspective of a decent orchestra seat.

The play, which includes original music from Will Butler, the Grammy-winning artist formerly of Arcade Fire, has a sound every bit as robust as one of the blockbuster musicals that regularly passes through the Pantages. The songs, crushed by the actors at top volume, are Butler’s indie rock re-creation of cuts for a part-British, part-American band that bears such a striking resemblance to Fleetwood Mac that a lawsuit brought by a former sound engineer and producer of the group was eventually settled.

Adjmi, like Shakespeare, takes his inspiration where he finds it. And like the Bard, he makes his sources his own, alchemizing the material for novel ends.

The touring production of “Stereophonic” makes clear just how integral the original cast was to the success of the play.

(Julieta Cervantes)

Unfolding in 1976 and 1977, “Stereophonic” offers a fly-on-the-wall perspective of a band at a crossroads. While recording a new album top-heavy with expectations, the group falls prey to romantic conflicts and self-destructive spirals, to toxic jealousies and seething insecurities. The prospect of fame magnifies pathologies that have been intensifying over time.

Diana (Claire DeJean) is the Stevie Nicks of the band. Beautiful, achingly vulnerable and awash in lyrical talent, she is entangled in a relationship with Peter (Denver Milord), the Lindsey Buckingham of the group, who strives for musical perfection no matter the cost.

Their connection is as professionally enriching as it is personally destructive. Diana’s ambition is matched by her self-doubt. She’s susceptible to a Svengali yet doesn’t want anyone to tell her how to write her songs.

Peter, angrily competitive, can’t help resenting the natural ease of Diana’s talent, even as it’s her song from their first album that has put the band back in the spotlight. His genius is ferociously exacting while hers seems to spring naturally from her soul.

Artistically they depend on each other, but the tension between them is unsustainable. And as the play makes clear, there’s no way to keep their personal lives out of the studio.

DeJean and Milord are the most captivating performers in the ensemble. The other actors are solid but this touring production makes clear just how integral the original cast was to the success of the play.

Daniel Aukin’s production, which had its New York premiere at Playwrights Horizons in 2023 before moving to Broadway the following year, hasn’t lost its confident flow. The storytelling is lucidly laid out. But the tantalizing peculiarities of the characters have been whittled down.

The British band members suffer the worst of it. Emilie Kouatchou’s Holly moves the character away from the obvious Christine McVie reference, but her role has become vaguer and less central. Cornelius McMoyler’s Simon, the drummer and weary manager, fills the bill in every respect but gravitas, which must be in place if the character’s ultimate confrontation with Peter is to have the necessary payoff.

No one could compete with Will Brill, who won a Tony for his strung-out portrayal of Reg, a deranged innocent whose addictions and dysfunctions create farcical havoc for the band. Christopher Mowod can’t quite endow this “sad man in a blanket,” as Simon dubs his bundled-up bandmate, with the same level of fey madness that Brill was able to entertainingly supply.

These casting differences wouldn’t be worth noting if it weren’t for their impact on a play that distinguishes itself by its observational detail. Everything is just a little more obvious, including the two American sound guys bearing the brunt of the artistic temperaments running riot in the studio.

Jack Barrett’s Grover, the sound engineer who lied about his background to get the job, sands off some of the character’s rough edges in a more straightforwardly appealing version of the character than Eli Gelb’s bracing portrayal in New York. Steven Lee Johnson’s Charlie, the dorky assistant sound engineer, is an amiable weirdo, though I missed the way Andrew R. Butler played him almost like a space alien in New York.

The play has been edited, but it’s still a bit of an endurance test. Art isn’t easy for the characters or for us. But the effort isn’t in vain.

Adjmi’s overlapping dialogue and gaping silences, orchestrated in a neo-Chekhovian style, renders the invisible artistic process visible. By the end of the play, the tumultuous human drama behind creative brilliance emerges in poignant, transcendent glory.